Orson Welles is right up there with Polanski, Kubrick and Hitchcock. He’s arguably the most acclaimed “directed by, written by and starring in” film-maker of all time. Some of his most famous works include Citizen Kane and Touch of Evil, a film noir piece that starts with one of the longest shots in Hollywood history.

Welles plays Hank Quinlan in Touch of Evil, a hulking mound of flesh with a drinking problem and a questionable reputation within the police department. His screen presence is amazing, and his direction is ground breaking for its time. Touch of Evil has become a screen classic for its startling concoctions of suspense and drama, which are conveyed with purpose through every meticulously planned shot. Welles adapted the pulp novel ‘Badge of Evil’ by Whit Masterson into the Touch of Evil screenplay. In some ways, he was ideal for the role of Hank. Welles’ father was an alcoholic, and Orson became obese in his 40s. Starring opposite Welles was none other than Charlton Heston as Ramon Vargas, and Janet Leigh as Susan Vargas.

Touch of Evil is a film-noir masterpiece. The story is that of corruption in the police force, racism and revenge in a small Mexican border town. A car bomb invites a police investigation, which goes sour over some “convenient” evidence. Vargas (Heston), a Mexican cop, and Quinlan (Welles) come to blows over the case and Vargas’ wife is used as collateral. The small border town flares up between the two. Vargas tries to bring Quinlan down using the law, while Quinlan uses counter-measures to cover his hide.

Touch of Evil is gripping, and just like a good book, it’s hard to put it down. The film was a box office failure in the US, but was well-received by European audiences in 1958. It’s a black-and-white film, but the performances and direction keep the theme, plot and characters timeless. Welles uses light, smoke and shadows like a magician. In fact, he kept his membership with the Magician’s Union, and regularly practiced sleight-of-hand magic in the event of his film career failing. His magic is on-screen and all the camera tricks show his versatility and inventiveness. Shaking cameras, a 4 minute single shot flight of fantasy (opening sequence) and original framing contribute to his reputation as a brilliant director.

The film looks and sounds great on DVD. Touch of Evil is a film-noir piece, which deserves its place amongst L.A.Confidential, Casablanca and The Third Man. It’s one of those films with characters that live on, and performances that echo for decades. When Welles discovered that the film had been recut, he wrote a letter, which formed the basis for the re-worked version as we see it today. This won a New York Critics Circle Award in 1998. In the original script, Heston’s character was meant to be a white district attorney, and Janet Leigh’s character was meant to be Mexican.

The end result is an influential film classic, that continues to inspire directors and audiences alike. Touch of Evil will remain a defining moment in film history, and one of Welles’ everlasting masterpieces.

The bottom line: Classic.